Moth Cock / Jerry Paper / Andy Boay
“Gatorboi” / “Come Over” / “Bullwhip Striders/Roll On River”
Taking a page from the C Monster post-book, I’m duel posting these hawt new Hausu Mountain tapes, because:
a. It’s nice outside
b. I’m staring out the window at muh bike
c. I’m feeling lazy, so
d. I’m saving time by only having to link Hausu Mountain once for both releases
And really, not to go patting myself on the back or nothing, but I’m kind of scribbling all over that page ‘cuz this is like a triple post, what with one of the releases being a split and all. It actually took me a really long time to figure out how to even format the title of this post. Does it make sense? Here, I’ll break it down for you:
Hausu Mountain, co-run by our bro, MUKQS has been spitting out tapes like crazy lately. The newest batch, including a tape from Ohio’s Moth Cock, which blasts through two sides of Black Dice-esque fuck-pop electronic manipulation, bending even the analog instrumentation into such bizarre territory as to leave the results entirely new and nearly unrecognizable. Listen to an excerpt from the “Gatorboi” side below:
Brooklyn’s Jerry Paper has been sadding up the stranger sides of that unique Brooklyn-style pop for years now with long sold out releases on small labels across the United States. “Come Over” from this split with tonstartssbandht’s Andy Boay, finds a bit of light peaking in through cardboard and newspaper clippings covering the windows; the breakdowns and change-ups finding Mr. Paper at a musical complexity beyond the tendencies of synth-and-drum-machine artists crafting pop songs by their lonesome. Come over:
“Bullwhip Strides/Roll On River” hits immediately with that familiar mountain of blown-out vocal harmonies, native to so many of Boay’s releases. Yet, despite the familiarity, Andy Boay is consistently a hard dude to pin down musically. With nearly twenty releases between his solo efforts and brotherly collaborative efforts as tonstartssbandht, the style is constantly shifting between angelic waves of voice, psychedelic jams, and blown-out punk rock. Not to mention the brother’s devotion to nearly all parts of the Beach Boys discography. Regardless, the man never disappoints, and this Hausu Mountain of squealing voices is no exception:
Shiiit. This was a three tape batch? Whoops. Well I’m not going back to include the William Selman tape now. Besides, a quadruple post? That might just break the Chocolate Grinder. Check that one out over here.
• Moth Cock: http://mothcock.bandcamp.com
• Jerry Paper: http://jerrypaper.bandcamp.com
• Andy Boay: http://andyboay.bandcamp.com
• William Selman: https://soundcloud.com/wselman
• Hausu Mountain: http://hausumountain.com
TOBACCO made a video for “Streaker.” It’s fucking WHACK. As per usual. There’s tons of swag that comes along with it too, like t-shirts and posters and shit. Track is off new album ULTIMA II MASSAGE via Ghostly International May 13. People be bowing to the dynasty of Black Moth Super Rainbow. Viewers of this video be huffin’ duster and nearly passing out at their work desk, ‘cause if THAT flies where you gain employment, then have at it! Personally, I could MAYBE get away with that: hittin’ pop-shots off the vaporizer in the stairwell, pretending like work actually exists here, and the vomit in a trash can while nobody is looking, place it on the other side of the company spot, and walk away like I own the place.
Driving to Amityville tonight to see Lil B. I’ll probably be doing all sorts of drinking and drugging and smoking and driving on the way down. Get there around seven, show starts at eight, pass out in between there sitting parked-car style with “Streaker” draining the battery on my cellphone, playing through my car stereo, tryna not listen to Lil B so it wont spoil the show. People looking in and knocking on my window, and I do (but don’t) acknowledge them. One person outside my car I hear say, “Hello, is this the Long Island EMT?” I turn off TOBACCO, plum out of my car swiftly, and walk away as people are yelling at me.
I turn around, “Yo, fuck-o. Go pre-order that young ULTIMA II MASSAGE LP by TOBACCO on Ghostly International ASAP! If you get a t-shirt too, you can take it off like I’m taking mine off now and now my pants. I’m naked, see? Come streaking with me!”
Cigarette Burns EP
What exactly is the appeal of vinyl pops and cellophane scratches? Many would describe vinyl and film as possessing a certain warmth, a humanity even, but what does this really mean? Is it that the sounds are easier on the ears, the scenes a smoother sight? Or is it that the pops and scratches represent traces of past ownership? Maybe what we enjoy most about used media artifacts isn’t the pops and scratches themselves, but the dust and nail particles that cause them. Maybe what we’re attached to is just the detritus of strangers.
It’s a scary but friendly thought, and one that pervades Detroit-based producer Apollo Brown’s Cigarette Burns EP. Cigarette burns, as you might know from Fight Club, are the cue marks placed on film prints in order to alert the projectionist that the reel is ending. “Cigarette Burns” is also the title of a John Carpenter-directed episode of Masters of Horror. Anyway, in this case, the cigarette burns are three dirty, dusty tracks taken from Apollo’s upcoming Thirty Eight (.38) album, which is being described as an “Original Instrumental Soundtrack for an early 80s technicolor cop show that might have made HBO” and “an expansive cinematic composition for the theatre of your mind.”
Educational administrators be on HIGH alert! 食品まつりa.k.a foodman has finally created music to teach children how to draw. Here, new track “TABIJI” off upcoming release on Noumenal Loom, 食品まつりa.k.a foodman provides a colorful range of curves and lines, filling in the gaps with shades of dots and stars, and shadowing the naughty areas. In a way, this could almost be a performance driven art, incorporating the movement of the child’s body drawn to the music. Or maybe a room full of paper, and children are to just GO AT ART, thus, the mind-absorption process of “TABIJI” in full bloom, presenting children in the act of drawing wherever, on wherever, however long… until everything is covered.
食品まつりa.k.a foodman draws from pure creativity always. He finds the deepest reaches of his imagination to make all music sound like a challenge in bliss. Like trying to find the last bit of butter on the bottom of the container, scraping it all over your bread, and feeling pretty healthy on slimming your fatty intake. Thank you 食品まつりa.k.a foodman for enticing children to art and life on the weight-loss track with “TABIJI.” Can’t wait for Noumenal Loom to pop off his new tape too. Thus summer will be ripe with sunrises and
食品まつりa.k.a foodman reels. Scope “TABIJI” below and look alive for his new tape on Noumenal Loom:
Katrina Stonehart (excerpt)
Chicago by-way-of-seemingly-everywhere-else resident Drew Gibson has always had a way of achieving a height of sound greater than the bedroom pop ceiling. Like tracking the path of guitar cords through the mountain of effect pedals and still finding yourself baffled by the sheer weight of sound coming out of the speakers. It’s a mystery that’s carried him through four Katrina Stonehart cassettes on the Lillerne Tapes label alone, in addition to a wealth of other solo material and his work with the always excellent Baby Birds Don’t Drink Milk trio.
Nearly two years after its initial release, Gibson’s self-titled fourth tape on Lillerne as Katrina Stonehart is seeing a welcome re-release. Often referred to as the “Gumby” tape (see: cover art) each of the tape’s sides stretches near-shoegaze tendencies into unrecognizable shapes as they approach the boundaries of unexplored noise; the gentle, buried strum of an acoustic guitar the only guiding light through the previously uncharted territory. This time around, the release is accompanied by an appropriately eerie video directed by Kyle Drouin which follows an excerpt from the untracked B-side of the tape through a kind of psychedelic urban swamp, not unlike the Evil Dead creature-cam filming B-roll of the blown LSD trip near the end of Easy Rider.
Katrina Stonehart is available from Lillerne Tapes now in an edition of only 75, and a few friends and I have already called dibs on some of them, so it’s probably more like 68 at this point. Time’s a-wastin’ grinders!